Album Review: High Places - High Places Vs. Mankind
- Written by Rob Barker
The best music always elicits a response, whether it’s the hyperactive, childlike glee you get from a decent pop track, the world crushing gloom that comes with a Morrissey all-nighter, or the trancelike relaxation that will wash over you after hearing High Places’ latest release. The duo, comprising vocalist Mary Pearson and multi-instrumentalist Rob Barber, released their first demo back in 2006 and have been bringing the world their blend of serene vocals and stripped back, bass heavy rhythms ever since.
Though High Places Vs Mankind isn’t the most densely packed record, every sound fits perfectly, from the watery drips on ‘The Channon’ to the hard-panning military drums of ‘Constant Winter’. Where some artists aim to put as much sound into every passage as possible, Barber really seems to value making as much of an impact as possible without any excess clutter.
Equally, Pearson injects a sense of simplicity into the record, both with her lyrics and her voice. Although the lyrics aren’t the most intelligent, and at times simply seem to be pulled from a rhyming dictionary, the fragility and tenderness of Pearson’s voice give them a subtlety that blends nearly perfectly with the airy instrumentation beneath them.
Unfortunately no album is perfect, and …Vs Mankind does have some weak moments, particularly ‘On a Hill in a Bed on a Road in a House’ which overdoses on simplicity, reducing it to more of a musical doodle by somebody who has some spare studio time rather than a finished track.
Despite its flaws, …Vs Mankind is an incredibly strong record, with Pearson and Barber exploring a number of different sounds, from the synth-reggae styled ‘The Most Beautiful Name’ to the sprawling strings of the instrumental ‘Drift Slayer’. If you’re in need of relaxation, simplicity and fragility, then High Places are the band for you, and they might just stop your world being crushed after all.